The manuscript was a gift of William Reed, bishop of Chichester, as a 14th century note on f. B relates. It is a compilation put together by John Sheppey, and contains selections from many classical authors, poems in English, sermons, details of liturgical procedure at mass, etc. The page of polyphonic music is the first of the front flyleaves (here called f. A.) It seems likely that the piece on f. A is a motet with Tr and Mot in score, followed by the T. The work on f. Av reveals no trace of a T, but in accolade 4 rondellus technique is introduced, so that this ostensibly two-part work may be a conductus.

the music-bearing leaf has been cut in half

brown velvet over pulp boards; 17th or 18th century.

English mensural notation

12 red five-line staves per page in 6 accolades.

modern pencil foliation at t.r.r. (the last two folios are numbered II-III, the first two are unnumbered). An old ink foliation at t.m.r. goes up to f. 167 with a gap after f. 69, so that f. 70-130 are missing.

A, Av

parchment

RISM B/IV 1: A 13th-14th century parchment manuscript meas. 280 x 205 mm. and containing ii + 225 + ii folios with a modern pencil foliation at t.r.r. (the last two folios are numbered II-III, the first two are unnumbered). An old ink foliation at t.m.r. goes up to f. 167 with a gap after f. 69, so that f. 70-130 are missing. The binding is of brown velvet over pulp boards and must date from the 17th or 18th century. The manuscript was a gift of William Reed, bishop of Chichester, as a 14th century note on f. B relates. It is a compilation put together by John Sheppey, and contains selections from many classical authors, poems in English, sermons, details of liturgical procedure at mass, etc. The page of polyphonic music dates from c. 1300 and is the first of the front flyleaves, here called f. A. It meas. 273x94 mm., though it was originally as wide as the present volume. Unfortunately, it has been cut away by half vertically. The notation is of English mensural type on 12 red five-line staves per page in 6 accolades. It seems likely that the piece on f. A is a motet with Tr and Mot in score, followed by the T. The work on f. Av reveals no trace of a T, but in accolade 4 rondellus technique is introduced, so that this ostensibly two-part work may be a conductus.

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of any of this content without permission may result in legal action.